Word: baccaloni
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Mozart: Don Giovanni (John Brownlee, baritone; Ina Souez, Audrey Mildmay and Luise Helletsgruber, sopranos; Koloman von Pataky, tenor; Salvatore Baccaloni, bass; the Glyndebourne Festival Orchestra and Chorus, Fritz Busch conducting; 6 sides LP). First released in the U.S. in 1938 in a 78-r.p.m. album, this is still the best performance of the Don on records; no one voice is brilliantly outstanding, but the temper of the ensemble more than makes up for that. The sound, good on shellac, is, if anything, improved...
...trouble was the singers. As La Scala's great Conductor Victor de Sabata put it: "In the old days we picked our singers; now we take what the impresarios have to offer." And with such Italian singers as Ezio Pinza, Salvatore Baccaloni, Italo Tajo, Licia Albanese and the Tagliavinis lured to greener U.S. pastures, Italian impresarios did not have much to offer...
...production of Mozart's opera has become a perennial success. Thursday evening was no exception: the Opera House was packed to the ceiling and Pinza stole the show. Or rather, Pinza made the show. It was unfortunate that with the exception of the rotund buffoonbass Salvatore Baccaloni, who sang Leporello, the supporting cast did not quite click. Charles Kullman as Don Ottavio gave an adequate performance of some of the best music of the opera, but you couldn't always hear him. And Rose Bampton's Donna Anna, a difficult role to be sure, was still a disappointment...
...takes a great deal to spoil such a masterpiece as "Don Giovanni," and Messrs. Pinza and Baccaloni sang and clowned their way through three hours of Mozart with great success. With unique genius "Don Giovanni" portrays the interplay of two most fundamental of life's forces: religion and sex. In the cataclysmic conclusion of the opera, when the statue accepts the arrogant nobleman's invitation to dinner, we realize that it can be only a supernatural power which will bring Don Giovanni to his doom. Behind the opera's dramatic end is one of the greatest portrayals of right...
Last week the rival Don Giovanni came off. Despite a few first-rate voices, it resembled a turgid Italian antipasto rather than an exquisite Mozartian souffle. One of the first-rate voices, the Metropolitan Opera's great comic basso, Salvatore Baccaloni, summed it all up by saying: "It stank, if I say so myself." Said the critic of Novedades: "The performance could only be described as weird. Unfortunately, those who did not attend may have been misled by one of my distinguished colleagues who rushed into print Sunday morning stating that the performance could hardly be equaled at Covent...